Articles
<![CDATA[KOMODIFIKASI KESENIAN TRADISIONAL WACANA ESTETIKA POSMODERN DALAM PARIWISATA ]]>
<![CDATA[Kasman, Selvi]]>
<![CDATA[ Ekspresi Seni Vol 13, No 2 (2011): Ekspresi Seni ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padang Panjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (901.461 KB)
|
DOI: 10.26887/ekse.v13i2.207
<![CDATA[Traditional Art as one of tourism sector object especially cultural tourism experience of transformation bearing various artistic form of culture popular. Tourism capitalism, making traditional artbecome art show of which have experienced of arts is pseudotradisonal komodification. Where happened ( solidarity akulturasi) between its creator folk art value with audience appetite, and reckon economic value because art possible represent product of social which is isstrongest to be attributed to economic bases, economic part, action economic  and economic production. That artistry relate at traditional from, but its value, its and symbolism of artthe taken off, hence term with art of tourist which is special it is true for the consumption of tourist.]]>
<![CDATA[Peranan Kesenian Adok Sebagai Sarana Pendidikan Estetika Pada Masyarakat di Korong Ubun-Ubun ]]>
<![CDATA[Selvi Kasman]]>;
<![CDATA[Fahmi Marh]]>;
<![CDATA[Saaduddin Saaduddin]]>
<![CDATA[ Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 21, No 3 (2020): Desember 2020 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.24821/resital.v21i3.4467
<![CDATA[This paper aims to reveal the aesthetic values and ideas contained in the musical art of Adok in Korong Ubun-Ubun, which acts as a means of aesthetic education for the performing arts community and the supporting community. As a virtue contained in Adok art, the aesthetic values and ideas make the position of Adok art different when compared to other traditional arts, so that the research is important. The research location was Jorong Ujuang Ladang, Korong Ubun-Ubun, Kanagarian X Koto Singkarak, Solok Regency. The object of research was Art Adok, focusing on the aesthetic aspects of the performance. This study uses an ethnographic approach and data collection techniques through participant observation. Minang values related to the value of taste (aesthetics) in Adok art contribute positively to the perspective of the supporting community so that they can change people’s perceptions and understanding of Adok art. The results of this study can also prove that the Adok art can be one of the presentations of Minang’s which the supporting community has not realized. ]]>
<![CDATA[PENINGKATAN KOMPETENSI GURU MELALUI PELATIHAN PENULISAN KARYA TULIS ILMIAH ]]>
<![CDATA[Febri Yulika]]>;
<![CDATA[Selvi Kasman]]>;
<![CDATA[Putri Khairina Masta]]>
<![CDATA[ Batoboh: Jurnal Pengabdian Pada Masyarakat Vol 1, No 2 (2016): Batoboh -Jurnal Pengabdian Pada Masyarakat ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padang Panjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/bt.v1i2.140
<![CDATA[Pengabdian ini bertujuan untuk meningkatkan kemampuan guru-guruSekolah Dasar Negeri Dharma Caraka dalam membuat tulisan ilmiah terkait laporan hasil penelitian tindakan kelas. Masalah yang dihadapi oleh paraguru Sekolah Dasar Negeri Dharma Caraka adalah kurang termotivasi untuk membuat tulisan ilmiah disebabkan beberapa faktor, salah satunya adalah kurangnya pengetahuan dan kemampuan terkait kiat-kiat membuat tulisan ilmiah, dan kurangnya waktu karena kesibukan para guru melaksanakan tugas pokok menjalankan proses belajar mengajar. Metode yang dipergunakan adalah ceramah dan demonstrasi dalam menyampaikan materi pelatihan, serta pengaplikasian materi ke bentuk pelatihan membuat tulisan ilmiah yang diarahkan untuk membuat proposal dan laporan hasil penelitian tindakan kelas. Pengabdian ini diharapkan dapat memotivasi dan meningkatkan pengetahuan para guru tentang bagaimana cara membuat tulisan ilmiah, sehingga dapat memenuhi kebutuhan tulisan ilmiah terkait proposal, laporan hasil penelitian tindakan kelas dan makalah ilmiah. Pengetahuan dan kemampuan yang diperoleh guru pada pelatihan ini dapat meningkatkan kompetensi, kapasitas dan profesionalitas para guru sebagai pendidik.]]>
<![CDATA[PERTUNJUKAN SOLIS MARIMBA DAN DRUMSET SOLO DENGAN REPERTOAR MAK INANG KAYANGAN, HOLIDAYS IN THE TROPICS, SPRING CONCERTO E MAYOR, NUTVILLE, BIG B LITTLE B ]]>
<![CDATA[Syofian Nur]]>;
<![CDATA[Selvi Kasman]]>
<![CDATA[ Laga-Laga : Jurnal Seni Pertunjukan Vol 1, No 1 (2015): Laga-Laga : jurnal Seni Pertunjukan ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.26887/lg.v1i2.239
<![CDATA[Banyaknya jenis musik dan fasilitas yang memadai belum cukup untuk menjamin perkembangan musik dengan baik, untuk itu lah perlu dipertujukan penyaji yang pantas dan layak untuk ditampilkan dan dikonsumsi oleh audien. Pada pertunjukan ujian akhir Syofian Nur minat pertunjukan mayor perkusi, penyaji tampil dengan menggunakan instrumen Marimba dan Drumset dua jenis instrumen yang berbeda klasifikasinya namun menjadi satu kesatuan didalam instrumen perkusi. Sedangkan instrumen perkusi Drumset merupakan hal baru pada ujian akhir minat pertunjukan, dikarenakan dalam hal ini penyaji menyikapi keadaan tersebut, bahwasannya disetiap instrumen perkusi mempunyai tingkat kesulitan yang berbeda – beda. Kata kunci: Marimba, Drumset solo, Teknik]]>
<![CDATA[Deteritorialisasi Khaos Melalui Permainan Musik Calempong di Nagari Unggan ]]>
<![CDATA[Fahmi Marh]]>;
<![CDATA[Selvi Kasman]]>
<![CDATA[ MUSICA : Journal of Music Vol 1, No 1 (2021): MUSICA: JOURNAL OF MUSIC ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (705.439 KB)
|
DOI: 10.26887/musica.v1i1.1715
<![CDATA[This article reveals the element of deterritorialization in the sub-culture of the Minangkabau community with the Deleuze concept. The concept of deterritorialization to reveal what the Minangkabau man with the title Datuak Paduko Alam did to the chaos he faced with the loss of a woman is called Mande. The female figure behind the birth of the traditional Minangkabau calempong music game in Nagari Uggan. The musical detritorialization that occurs in Minangkabau society is particularly a part of the life experiences of female calempong players in Nagari Uggan. The purpose of this research using the Deleuze concept is to reveal the past problems of calempong which have deterritorialization elements. However, this is expressed through the experiences of calempong players and stories or stories of life in society. The method used in this research is qualitative data analysis from five players who are really experienced in playing the composition of calempong in Nagari Uggan. The approach used to reveal the experiences and stories of the community is life history ethnography. The results of this study are about how the experiences of female calempong players are able to express their deterritorialization musically, as well as a new form of reading about Minangkabau traditional music problems through women.Keywords: Deterritorialization; calempong; man and woman; Minangkabau.ABSTRAKArtikel ini mengungkapkan unsur deteritorialisasi dalam sub-budaya masyarakat Minangkabau dengan konsep Deleuze. Konsep deteritorialisasi untuk mengungkapkan apa yang dilakukan laki-laki Minangkabau yang bergelar Datuak Paduko Alam terhadap khaos yang dihadapinya terhadap kehilangan perempuan yang disebut Mande. Sosok perempuan yang melatarbelakangi lahirnya permainan musik tradisional Minangkabau calempong di Nagari Unggan. Detritorialisasi yang secara musikal terjadi dalam masyakat Minangkabau secara khusus menjadi bagian dari pengalaman hidup perempuan pemain calempong di Nagari Unggan. Tujuan penelitian dengan menggunakan konsep Deleuze ini adalah untuk mengungkapkan masalah masa lalu calempong yang memiliki unsur deteritorialisasi. Namun hal itu diungkap melalui pengalaman pemain calempong dan cerita atau kisah yang hidup dalam mayarakat. Metode yang digunakan dalam penelitin ini yaitu data analisis kualitatif dari lima orang pemain yang benar-benar berpengalaman dalam memainkan komposisi calempong di Nagari Unggan. Pendekatan yang digunakan untuk mengungkapkan pengalaman dan cerita masyarakat tersebut adalah etnografi life history. Hasil dari penelitian ini adalah tentang bagaimana pengalaman perempuan pemain calempong mampu mengungkapkan deteritorialisai secara musikal, sekaligus sebagai bentuk pembacaan baru masalah musik tradisional sub-budaya Minangkabau melalui perempuan.Kata Kunci: Deteritorialisasi; calempong; laki-laki dan perempuan; Minangkabau.]]>
<![CDATA[Estetika Karya Lukis Afianto Arifin ]]>
<![CDATA[Selvina Rahmi]]>;
<![CDATA[Suryanti Suryanti]]>;
<![CDATA[Miswar Miswar]]>
<![CDATA[ V-art: Journal of Fine Art Vol 1, No 1 (2021): Juli - Desember 2021 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padang Panjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (580.307 KB)
|
DOI: 10.26887/vartjofa.v1i1.2138
<![CDATA[This study discusses Afianto Arifin's tendency to persist with a strong naturalism style during the incessant contemporary art. This study also discusses the journey of art, the factors behind his work attitude, and the aesthetic concepts contained in his paintings. To answer these problems, qualitative research methods are used which include observation, interviews, and literature study. The research was conducted in the City of Bukittinggi and Padang Pariaman district, West Sumatra province. Based on the research results, the beginning of Afianto Arifin's artistic career began in Jakarta. Apart from painting, Arifin also got a project to make sculptures and reliefs. After that, Arifin was diligent in making paintings. Arifin tends to raise objects of natural scenery and women's beauty. The idea of creating Arifin's paintings was influenced by artistic factors and cultural factors in his native area, namely Bukittinggi. The aesthetic concepts contained in Arifin's paintings are discussed from the point of view of art styles, art structures, as well as the interaction of media and meaning. Arifin is a person who tends to not want to be exposed and does not like to see exhibitions, this makes Arifin stick to his ideals and influences his artistic style until now.]]>
<![CDATA[EMPOWERING ADOK TRADITIONAL ART IN ITS POWERLESSNESS ]]>
<![CDATA[Selvi Kasman]]>
<![CDATA[ PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT No 1 (2016): Seni, Teknologi, dan Masyarakat #1 ]]>
Publisher : <![CDATA[LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
<![CDATA[Artistry Tradition Adok is part of the cultural asts, refer to the value of (aesthetics), comes from an expression of human desire to the beuty, that is enjoyed with eyes and ears. Interesting things from the performance adok tradisional arts contained on each elements. Music, serves as accompanist in dance movement in adok that use music instruments such as drum that is coated with tiger skin as a membrane-producing sound, people call it as gandang adok; elements of dance that its move is based on the movement of martial arts, danced by men; Other elements are text shaped ABAB rhyme pattern, sang by gandang player. This research use qualitative method for results deskriptif like written or oral from many people and behaviour which observable. The approach directed to background individu in holystic. The problem is that the adok traditional arts is not fully supported by willingness of traditional art is not paralel with the rapid development of all society aspects. Society as the actors are less motivated and incapable to do much things on its consistent maintainance The forms of empowerment are made through coaching toward the actors and performace aspects. They also form the traditional aspects for the benefit of adok traditional art performance package. Therefore, the supporting society have the ability to answer the challenges and maintain art and culture in this area. Because one of a developed society is to have the ability to save and preserve the cultural arts. Through the seminar is one way to give an information about art and culture, in order to be appreciated, enjoyed, loved and it is expected can motivate the community of performers to play their part in its preservation.]]>
<![CDATA[BECOMING UNGGAN WOMEN: SUBJECTIVITY AND INDIVIDUALITY ]]>
<![CDATA[Fahmi Marh]]>;
<![CDATA[Yang Junchu]]>;
<![CDATA[Selvi Kasman]]>;
<![CDATA[Hafif HR]]>
<![CDATA[ Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 24, No 1 (2022): Edisi Januari-Juni 2022 ]]>
Publisher : <![CDATA[LPPMPP Institut Seni Indonesia Padangpanjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (514.245 KB)
|
DOI: 10.26887/ekspresi.v24i1.1635
<![CDATA[The women who play music in Nagari Unggan are Minangkabau women. Nagari Unggan women's freedom to play music without men is an anomaly for the Minangkabau indigenous people. Women's liberation becomes something discordant or taboo. His present free existence can be in the form of subordination, and vice versa can be in respect and emancipation. This paper will reveal the free event of the Unggan Woman as becoming or becoming a woman to being Parewa. This research on the narrative of female music players from Calempong Unggan was analyzed using the Deleuze concept; becoming, subjectivity, and individuation occur, but first, the discussion starts from subjectivity and individuation. Meanwhile, Becoming a form of being an Unggan woman is a novelty for Unggan women for their freedom to play calempong. The Woman's narrative was built using qualitative analysis methods through life history ethnography, in the form of reports of women's lives in the Calempong performance room, especially musical players who are experienced in telling their experiences—starting from the narrative of past livesBECOMING PEREMPUAN UNGGAN: SUBJEKTIVITAS DAN INDIVIDUASI AbstrakPerempuan yang bermain musik di Nagari Unggan adalah perempuan Minangkabau. Kebebasan perempuan Nagari Unggan bermain musik tanpa didampingi laki-laki menjadi sesuatu yang anomali bagi masyarakat adat Minangkabau. Kebebasan perempuan itu menjadi sesuatu yang sumbang atau tabu. Keberadaanya sekarang yang bebas itu bisa berupa subordinasi dan sebaliknya bisa berupa penghormatan dan emansipatif. Tulisan ini akan mengungkapkan peristiwa bebas perempuan Unggan itu sebagai becoming atau kemenjadian perempaun menjadi Parewa. Hasil dari penelitian narasi perempuan pemain musik Calempong Unggan ini di analisis menggunakan konsep Deleuze; becoming, subjektivitas dan individuasi, yang terjadi di dalamnya, namun terlebih dahulu diskusi dimulai dari subjektivitas dan individuasi. Sedangkan becoming sebagai bentuk kemenjadian perempuan Unggan menjadi kebaruan perempuan Unggan atas kebebasannya bermain calempong. Narasi Perempuan Ungggan tersebut dibangun dengan metode analisis kualitatif melalui etnografi life history, berupa narasi kehidupan perempuan dalam ruang pertunjukan calempong, terutama pemain musik yang benar-benar berpengalaman menceritakan pengalamannya. Mulai dari narasi kehidupan masa lalu, masa sekarang untuk membangun masa depan perempuan Unggan sebagai pemain musik perempuan yang bebas di Minangkabau.]]>
<![CDATA[Revitalization Of Balango: Local Ceramic Art and Products from Galogandang Luhak Nan Tuo, West Sumatra ]]>
<![CDATA[Prastawa, Wisnu]]>;
<![CDATA[Kasman, Selvi]]>;
<![CDATA[Prihatin, Purwo]]>;
<![CDATA[Sriyanto, Sriyanto]]>
<![CDATA[ ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 5, No 1 (2024): ARTCHIVE : Indonesia Journal of Visual Art and Design ]]>
Publisher : <![CDATA[Institut Seni Indonesia Padang Panjang ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.53666/artchive.v5i1.4550
<![CDATA[Balango, a traditional pottery used as a cooking utensil in Minangkabau villages, has been transformed as an interior aesthetic support or aesthetic element, so that balango becomes more dynamic and has prospects as an art commodity. This research aims to examine the revitalization of pottery at Galogandang Pottery Hall in Luhan Nan Tuo, West Sumatra. This research uses a mixed method as a reference strategy for developing the potential of clay for the application of local pottery crafts in a sustainable manner through a creative approach supported by laboratory tests. Balango at Galogandang Pottery Hall, there is a development of local art product designs in the form of flower vases; pendil teapots, and kadhai whose clay raw materials are formulated from three types of soil with a clay fraction of 23% (sandy loam clay); kaolinite (21%), illite (41%), and quartz (38) minerals; oxide composition dominated by SiO2 (37%) and Fe2O3 (35%); burn shrinkage (19%); specific gravity (1.75 g cm-3), porosity (26.60%) and compressive strength (225.48 kg cm-2). This composition can be used to customize new ideas for other products by combining different forms (figurative and abstract), resulting in visually beautiful and functional utilitarian pottery for interiors with artistic quality and local flavor.]]>
<![CDATA[The Phenomenon of Elderly Street Vendors in the Jam Gadang Tourism Area Bukittinggi City ]]>
<![CDATA[Gita Ramadhani]]>;
<![CDATA[Selvi Kasman]]>;
<![CDATA[Emzia Fajri]]>
<![CDATA[ Journal of Scientific Research, Education, and Technology (JSRET) Vol. 3 No. 1 (2024): Vol. 3 No. 1 2024 ]]>
Publisher : <![CDATA[Kirana Publisher (KNPub) ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.58526/jsret.v3i1.333
<![CDATA[This thesis is entitled "The Phenomenon of Elderly Street Vendors in the Clock Tower Tourist Area of Bukittinggi City". The aim of this research is to describe the views of the public and tourists towards elderly street vendors, the factors behind elderly street vendors continuing to choose to trade in the Jam Gadang tourist area of Bukittinggi City. The theory used in this thesis is the phenomenological theory of Edmund Husserl. The method used by the author is a qualitative method, with data collection techniques namely observation, interviews and documentation. The findings from this research are that the factors behind the elderly continuing to choose to trade in the Jam Gadang tourist area are economic factors, social factors and health factors. The views of the public and tourists towards these elderly street vendors do not have a problem with the existence of the traders and some tourists also feel respect for the existence of these elderly street vendors.]]>
